Edward Woodward wasn’t just an actor; he also released a number of albums through the 1970s. This kitschy and very ’70s album cover uses Greeting Monotone for the artist name, and Filmotype Lariat for everything else. The album design is credited to Rick Irvine, with photography by Keith Mercer.

[More info on Discogs]

Description of the book by the publishing house Changes:

From the rubble of Uber Eats, Beyond Meat, and collapsing cities, Chariot Wish’s debut P.E.A.C.E. incants a radiant, visionary, and irreverent poetics of queer devotion. A lapidary for the end of one world, Wish’s ecstatic, embodied poems are pierced with holes, drenched in fluids, and alive with longing—for sex, for love, for a new world order. Channeling interlocutors like Simone Weil, Pier Paolo Pasolini, and Robert Glück, Wish blends Christian mysticism with a punk lineage of queer transgression, mending an urgent through-way between sacred and profane. What emerges is a text that is worshipful in the way only prayer and erotica can be. In P.E.A.C.E. the poem becomes a site of raw contact, where language touches flesh and readers encounter a world worth desiring, even in its ruin.

Chariot Wish is a poet living in New York. They are associate editor at Wonder Books and online editor at Amygdala Journal.

Slow & Low is Chicago’s largest lowrider festival. This curated community-cultural public sphere exhibition explores and presents Lowrider culture as an original form of American folk and contemporary art. The customized car becomes a way of expressing beauty and self-expression by owners, master craftspeople, and innovative mechanics, through modifications including wire wheel rims with whitewall tires, custom pinstriping and upholstery, airbrush muralism, and other contributing visual aesthetics and material objects.

Lowriding began in the 1940s when Mexican American veterans in southern California used their World War II mechanical training to modify cars, especially Chevys, so they rode “low and slow” rather than “hot and fast.” During the Chicano Movement of the 1970s, lowriders took on political roles through car clubs that offered community services and embraced pro-pueblo imagery like flowers, warriors, and geometric designs drawn from Indigenous Mexican stories. These “mobile canvases” used style as resistance, echoed in the Pachuca/o fashion that emerged as a symbol of rebellion.

That same spirit of crafted expression extends into the Slow and Low festival’s visual identity.

Respira made such an impact on past Slow & Low projects that it became part of the visual language people now associate with the festival. For the 2025 edition, the design team pushed the system forward and leaned even more into Sharp Type, customizing Respira to bring in a warmer, marker-drawn feel for the headlines.

It was paired with Cordier Script and Rosalie to amplify the hand-lettered, lowrider-forward voice the curators were aiming for. Together, the combination honored Chicano typographic lineage without imitating it, giving the full civic-scale identity a grounded, expressive backbone.

Design direction and design by Nick Adam at Span, with design and animation by Kevin Moreland and illustration by Alec Hudson. Curatorial work by Lauren M. Pacheco, Peter Kepha, and Edward Magico Calderon. 2025 Day of Photographers: Ferny Ruiz, Alfonso Monroy, Carmen Ordoñez, and Melissa Reyes. Design media photography by Edward Magico Calderon, Max Herman, Nick Lipton, Katrina Nelken, and Mike Pocious

Swiss Gothic (with Biform alternates) and Fiedler Gothic in early use for 18 Yellow Roses. The album by Bobby Darin (1936–1973) “debuted on the Cashbox albums chart in the issue dated July 20, 1963, remaining on that chart for a total of seven weeks and hitting a peak position of number 69.”

In his Allmusic review, critic Richie Unterberger praised the single “18 Yellow Roses” and its B-side “Not For Me” but generally panned the rest of the album, writing “otherwise 18 Yellow Roses sounds like a bit of a rush job rather than an artistic statement.”

[More info on Discogs]

TIBE has crafted a new brand identity for the Arbeiderpartiet (Norwegian Labour Party), blending historical reverence with contemporary clarity.

The headline typeface is a customised version of Store Norske Jernskrift, a revival and elaboration of a long-lost piece of Norwegian typographic heritage. Jernskrift draws its inspiration from the distinctive numbers found on Norway’s first official car number plates, introduced in 1929. For decades, these numerals were a quiet yet omnipresent part of Norway’s visual culture: seen on every road, ingrained in daily life, and emblematic of Norwegian modernity in the twentieth century. Over time, it faded from view, nearly forgotten—a “sleeping beauty” of Norwegian design history.

Due to the Skrift i Oslo project, Jernskrift has been carefully researched, revived, and reimagined for contemporary use. Its reappearance in Arbeiderpartiet’s identity is both poetic and poignant, bridging eras and reconnecting Norwegians with a subtle but powerful symbol of their shared past. The typeface’s geometric forms and industrial spirit evoke progress and resilience, while its story is one of the beauty that can be rediscovered in visual traditions. Jernskrift create an identity that is both forward-looking and deeply rooted in Norwegian heritage, celebrating the Labour Party’s enduring connection to Norwegian industry and the people and history of Norway. Supporting text is set in GT America.

A touching narrative about age, care and the power of unexpected encounters. Awarded the Hamburg Literature Prize.

Minna is 92, lives alone – and counts the words of the nurses who meet her every day. Until Moni comes. Moni listens. Moni buys the right potatoes. A special connection is created between shopping lists, puffed rice and North German objectivity. With fine humor and a great sense of nuances, Lara M. Gahlow tells in her short story debut about the courage to be close in a world that does not provide for this.

“Predominantly Waxy” is an award-winning literary tale about aging, caregiving, and the power of genuine encounters. Care is more than a service. It is closeness, routine—and sometimes the only regular social contact. But what does that mean for those who depend on care? And for those who provide care?"

Lara M. Gahlow is a freelance author, editor, and cultural manager. She studied cultural studies in Bremen, the USA, Lüneburg, and Lithuania. She works in an intersectional feminist context and advocates for gender equality in the cultural sector. In 2023, she moved to Vienna to write her first book – and won the Hamburg Literature Prize for the short story “Vorwiegend festkochend”. Lara believes that life holds the best stories if you just look closely. And that’s exactly what she does.

The narrative is about the question of what we need to live self-determined. Growing old with grace I give small, silent answers with each side. The book contains a lot of my grandmother – and maybe yours too. The end of a life, that's perhaps not the hottest topic. But such an important one. And one thing is certain: we all grow old. Let's think about what that might look like.

The book was published by Ankerwechsel Verlag. The jacket and cover are set in Feraz Condensed.

KIFF Aarau is a leading independent music venue in Switzerland, shaped by volunteer culture and a dynamic live program. Between 2014 and 2024, Upset developed its visual identity and seasonal campaigns—anchored by a modular K mark evolved from the venue’s earlier logo by Büro Destruct.

The identity was designed to stay flexible and responsive to shifting youth culture. The K functions as both symbol and structure: scaling, stretching, and framing content across print and digital formats.

Alongside the identity, Upset began developing a custom typeface for posters and headlines. This display font eventually grew into Kunath, a full family now part of the studio’s own library.

Over the decade, the system expanded through collaborations with photographers, illustrators, and artists—resulting in campaign assets as varied and vibrant as the venue itself.

Kunath is currently in development and will be released via Upset.

Guadalupe (The Strange Shape of Love) is an erotic novel written by Smith Alexander and published by Brandon House in 1967. The cover artist is unknown.

The dramatically inclined grotesk used for the subtitle suggests that the typography was done using a Filmotype machine: Eagle was an original design by the phototype company from Illinois. “Guadalupe” is in Neue Aurora, which was copied by Filmotype as “RGQ”. The wide face used for the author’s name is Microgramma. It was also available for this device under the alias “MM56”. The less condensed sans used for the last two lines is a tad too generic to pinpoint. Judging from the round dots, it might be Filmotype Florida.

Rosey Grier’s Needlepoint for Men is a craft book written by Rosey Grier (b. 1932) and published by Walker & Co. in 1973. From the inner flap:

What happens when a tough cookie tackles the finer things in life? Will he leave people in stitches? Must he take a little gentle needling? Not if it’s Rosey Grier, former Los Angeles Rams and New York Giants tackle, who is putting down the pigskin and picking up stitchery. A sissy? Not a hulking, awesome, six-foot-five, three-hundred-pound chance. And if Rose’s massive hands can create lovely designs on canvas, then so can just about anyone’s.

Travis Boyer wrote about the book for Maharam:

Rosey Grier’s revolutionary aims are made clear in “Chapter 13: Other Men in Needlepoint.” Grier is brutally honest, discussing the shaming he received for his needlepoint, including numerous harassing phone calls. Naming and quoting friends and football players, Grier charges them with a kind of tacit homophobia: “cut that crap, Ro, you’ll have everyone who thought football players were rough and tough, looking at us like we are sissies or something else.”

Don’t cry. Rosey has all the answers. In time his shade-throwing football buddies all end up in his ever-growing sewing circle: “Every one of them does needlepoint now.”

Make sure to read the full article, which does a great job of providing the sociocultural context into which the book was published.

For the jacket design, Barbara Huntley worked with Photo-Lettering’s Accelera. The fat rounded caps are shown in blue, with a triple shadow in pink, red, and orange. “Needlepoint” is in caps from Jay H. Schechter’s Jay Gothic.

The title in Accelera and Jay Gothic is repeated on the inner flap, with text in Times New Roman.

The title page combines – the problematically named – Jim Crow with Futura Display.

Invitation to the book launch, with Franklin Gothic and Accelera D, that is with solid letterforms and open shadows

Page from the book’s interior, with the caption set in News Gothic

Love Chronicles by British folk musician Al Stewart was featured on Fonts In Use before. The US release by Epic Records came with a cover design that’s quite different from the one distributed in the UK, featuring a photograph of Stewart back to back with a woman, superimposed with an image of a rose in relief.

The Art Deco-ish signpainter caps at the top are from an early typeface by Photo-Lettering: Shaggy originated at the pioneering phototype company from New York sometime before 1950. It might have been drawn by Harold Horman, but that’s unconfirmed. The all-caps Shaggy is set on a curve, with slightly condensed letterforms.

[More info on Discogs]

The photograph of Stewart in a fur coat that featured on the front cover of the CBS release was relegated to the back and printed in black, next to the liner notes by Fred Binkley.

Drei Rosen was a Konsumgaststätte in Rötha, Saxony, just south of Leipzig. Located at the town square, the inn went under this floral name already in 1908, albeit with a different sign. The building goes back all the way to around 1410. According to Schwarze Lichter der Stadt, the once popular restaurant has been disused since 1995. The adjacent Theater der Drei Rosen offered film screenings from 1924 until 1991, and was demolished in 2015.

The sign with letters patterned after Eckmann was installed during GDR times. It’s framed by the Konsum logo (designed in 1959 by Karl Thewalt) with a sublogo for the state-controlled restaurants on the left and the titular three roses on the right.

Documented by Monsier Adrien in March 2024.

Hardcover dust jacket cover for Venus School-Mistress

Published in 1968 by Grove Press, this hardcover edition of the erotica book Venus School-Mistress features the typeface Smoke and a cover photo by Lee Kraft. There is no design credit. According to the back cover synopsis, "Venus School-Mistress is a collection of fiction, verses, drama, and philosophy on the theme of flagellation."

Venus School-Mistress was published under the imprint Zebra Books, one of their imprints known for publishing “pornographic classics”. You can read more on the history in an article by Loren Glass for the Los Angeles Review of Books.

Front cover of the paperback edition by Zebra Books

Back cover of the paperback edition by Zebra Books

For his jacket design for the latest book by Canadian novelist Mona Awad, Oliver Munday unearthed the 1972 Letraset classic Lazybones. Patrick Sullivan provided art direction.

Rouge was published by Marysue Rucci Books, an imprint by Simon & Schuster, in September 2023. From the publisher’s description:

Snow White meets Eyes Wide Shut in this surreal descent into the dark side of beauty, envy, grief, and the complicated love between mothers and daughters. With black humor and seductive horror, Rouge explores the cult-like nature of the beauty industry—as well as the danger of internalizing its pitiless gaze. Brimming with California sunshine and blood-red rose petals, Rouge holds up a warped mirror to our relationship with mortality, our collective fixation with the surface, and the wondrous, deep longing that might lie beneath.

German schlager album by French chanteuse Jacqueline Boyer (b. 1941), released in 1971.

Cover designer Bernhard Wetz used Crayonette with its caps raised to the baseline, as it was common in the days of phototype and dry-transfer lettering. The specific version seen here has slightly simplified glyphs for A H P (cf. this album cover) and also an E that’s different from the original’s. Such an extended version was available at the time from Berthold Fototype as Crayonette Flair. Lettergraphics in California carried it as Crayon Flair.

[More info on Discogs]

First paperback edition of Tanith Lee’s The Silver Metal Lover from 1982, originally published in hardback the year before. Together with Metallic Love from 2005, it forms the S.I.L.V.E.R. series. Lee intended to continue it with a third novel, The Tin Man, but didn’t get to publish it before her death in 2015.

What better way to translate the title to a mass market paperback cover than with embossed metallic letters? The effect is hard to capture in flat scans or photos, that’s why I’m including two different images. The fonts in use are two weights from Roslyn Gothic, in all caps.

The cover art is by Don Maitz.

[More info on ISFDB]

Join Us is the fifteenth record album by indie pop band They Might Be Giants. Founded in 1982, the group has released well over 40 albums (as of September 2023).

On this 2011 record, the typography is dynamic with the artwork, as the “They” is lowered due to it being run over. Design by Paul Sahre, who created multiple covers for They Might Be Giants in later years. All info is set in a single weight of Neue Helvetica – and not Neue Haas Grotesk which was released the same year as this artwork.

[More info on Discogs]

The image of the huge-wheeled hearse from the album artwork was brought to life as a giant 12 ft DIY cut-out paper model. Printed at full size (to do that, scale the pdf up to 3400%), cut out and assembled, the funeral wagon was the star of the music video for “When will you die?”.

In India, love and marriage are deeply intertwined with cultural and societal norms.
For centuries, arranged marriages have been the norm, with families playing a central role in choosing partners for their children. The decision to marry is often seen as a family matter rather than an individual one, with considerations such as caste, religion, and socioeconomic status heavily influencing the selection process.

Despite the prevalence of arranged marriages, the idea of romantic love has gained significant popularity in India in recent years, especially among the younger generation. However, the traditional views on marriage still hold sway, with many young Indians seeking to reconcile their desire for love with their families' expectations.

In a 2018 survey of more than 160,000 households, 93% of married Indians reported that their marriage had been arranged. Only 3% of respondents indicated they had experienced a “love marriage”, while an additional 2% described their marriage as “love-cum-arranged”, meaning their families initiated the match but they mutually agreed to marry.

Interestingly, the prevalence of arranged marriages has remained relatively consistent over time. Even among individuals in their 80s, 94% reported having an arranged marriage, while the figure remained above 90% for young couples in their 20s. This booklet explores marriage trends in India and examines the evolving concept of "love" in the context of marriages.

The cover features a grunged Fette Fraktur with a modified A for the title, Mesquite (Adobe) for the subtitle and Birch for the names of the editors. “Lemmy” is in Ironwood.

The Art Of Metal: Five Decades Of Heavy Metal Album Covers, Posters, T-Shirts And More is a book showcasing the finest examples of metal posters, cover and artwork. It was edited by Malcolm Dome and Martin Popoff with a foreword by Lemmy and published in 2013 by Omnibus Press in the UK and by Voyageur Press in the United States. Paul Palmer-Edwards of the award winning Grade Design in London provided the design of the book, including the cover illustration.

The book covers five decades of work and ten genres of metal displaying the diversity and similarity in design between the genres. Each chapter showcases a different display blackletter typeface. For chapter two A Gothique Time by Bonez Designz was selected. See the image captions for more fonts used in this publication.

Chapter 2, “New Wave Of British Heavy Metal”, in A Gothique Time

More A Gothique Time in chapter 2

The headline in A Gothique Time is paired with text in Trade Gothic.

Half-title page, featuring the grunged Fette Fraktur with the romanized A

Title page

Table of contents with Fette Fraktur and Trade Gothic

Chapter 1, “Origins: Traditional Metal”, ft. Bayreuth

Chapter 3, “Hair Metal”, in Kingthings Spike

Chapter 4, “Doom & Stoner Metal”, ft. Blackmoor

Source: recordcovers.wordpress.com Collecting Record Covers. License: All Rights Reserved.

Two years after Roman Accordion, Command Records released another album by Charles Magnante, with a similar title: for Romantic Accordion, art director Charles E. Murphy (1933–2005) did the illustration himself, apparently building on Giusti’s almost abstract accordion from 1963, adding movement, a rose, and a woman’s face.

The title typeface is an early creation by Photo-Lettering, shown in their 1960 catalog as Curfew Initials, with catalog number 0387. The underlying design with the trifurcated stems and decorative tendrils is a century older, though: PLINC’s face is based on an alphabet drawn and engraved by Jules Girault that was reproduced in his Album graphique from 1867.

Source: gallica.bnf.fr gallica.bnf.fr / Bibliothèque nationale de France. License: All Rights Reserved.

The original alphabet by Jules Girault as reproduced in his Album graphique from 1867

While the PLINC adaptation stays fairly close to Girault’s design, apart from a few omitted hairlines, Murphy apparently found it a little too romantic and over the top, and simplified the ornate caps for this application:

— A has one horizontal crossbar instead of two diagonal ones, and omits one tendril at mid stem
— C drops third the tendril in the lower part of the counter
— D and N lack one tendril to the left of the stem and two to the right
— I lacks two tendrils at mid stem
— M lacks two tendrils at the bottom half of the middle stem
— T replaces the round bottom part with a straight stem

Curfew Initials is contrasted with the down-to-earth Akzidenz-Grotesk for the artist’s name.

[More info on Discogs]

Source: www.amazon.com License: All Rights Reserved.

Detail

Source: www.ebay.com vinylrecordcenter. License: All Rights Reserved.

Charlottenburg makes an impact on the cover of Dear Love by artist Sarah Bahbah, designed by Raissa Pardini.

Pardini chose Charlottenburg Circles for the cover, an interplay of compressed and classical proportions. The typographical tension complements Bahbah’s themes of love and heartbreak. The spine is set in Charlottenburg Classic. A more formal choice was made for the text inside the book, set in Times New Roman.

The combination of metallic red hot foil stamping on a linen hard cover further enhances Dear Love’s emotional impact. The book is smyth-sewn, with woven headbands, and includes four satin ribbons for bookmarking.

The Arabic text on the back cover is either lettering, or a yet unidentified typeface.